Listen: Epiphany - @MistaEncore

Last week, we caught up with Mista Encore at Fluid Emotion over at High Voltage Lounge in Asbury Park.

After a couple conversations about R&B and the H.E.R. show, he graced the stage at the open mic event. Word is he just dropped a new tape called The Cleanse EP. The Long Branch emcee and producer performed the first track on the project at he event and I think it's a great introduction to a new artist on our radar. The song is called Epiphany. If you like soulful, J. Dilla style beats you'll like this one. It's almost lofi the way the piano progressions and boom bap percussion blends with him meeting in the middle with bars. He's a new father and he got something to say. Epiphany by Mista Encore below. Cop The Cleanse on iTunes today!

Watch: Big Baaa - @MarcusAriah

It's throwback thursday right? That's my excuse for being late but y'all don't have to be. I'm just going to say this: I'm trying to have a cameo in the next Marcus Ariah video because this one is too tough.

just watched the "big baaa" video for the third time and I’m still over here like "wowww..this dude @MarcusAriah really got real live goats in his shit" a fire song with a fire visual is always appreciated pic.twitter.com/fGx5H427ix

— scotty mescudi pimpin (@triple_ogigi) November 19, 2018

Marcus brought out all the bells and whistles for his new single Big Baaa. This is the first offering from the Newark native since his last project Making a Man.Once upon a time I said songwriting comes easy for Ariah. This holds true after listening to this song. Leer Jets, palm trees, and warmer weather lace the setting in this video. A bad jawn sold separately. Check out the Big Baaa video after the break.

Ransom Report V: Championships - @MeekMill The Good, the Bad, & the Peanut Butter & Jelly Bulls**t

Warning: This article includes vulgarity or graphic content.

Ransom Report Volume V: Meek Mill’s Championships 

The Good, the Bad, & the Peanut Butter & Jelly Bulls**t

Hello again haters and congratulators. I’m right back like I left the stove on. This is a BIG one, Meek Mill’s Championships. I’m unveiling a new format for this one. I’ll be telling you what I like, didn’t like and thought was BS about every album I review. I’ll do track by track reviews occasionally. This was mostly for all you remedial English class motherf*****s out there. All those that looked shook like you were gonna get picked for the hunger games when the teacher was picking people to read aloud in class. Yeah all you out there, I shortened the format for y’all. No need to thank me, I know you’re all thankful. That being said here we go, the Dr. is IN.

Full disclosure: I didn’t start out a Meek fan:quite the opposite. I thought his first album was basura. I had to be persuaded over the years by my man @carretta24 among others, until finally after hearing Dream Chasers 4 and then Wins & Losses. I actually gave the latter, Album of the Year on the A-side B-side Podcast Pilot episode and music wrap up for last year. Now, onto Championships.

The Good: 

 

Coming off the 2017 album of the year (Wins and Losses), the bar was higher than it ever has been for Meek. Especially since he spent some hard time in the bing, I was really looking forward to seeing how that would change him. The answer: it made him appreciate and celebrate. It taught him to be more thoughtful and introspective. These are all new facets of his song-making ability. Any-motherf*****g-way, there’s a lot good on Championships; his songwriting improved from his time in the can (that’s what they call jail on the sopranos, I’ve been binge watching the whole thing again so pardon me paisans). He didn’t come out super vengeful like 'Pac did after he did his time.

Here, we find Meek taking stock of his life and state of his career. He's very clever with a flip of Biggie's timeless What’s Beef on What’s Free featuring an OUTSTANDING verse by Joe Camel himself Jay Hova, and an equally garbage juice verse by Ro$$ aka Officer Ricky (how the mighty have fallen. He used to be my favorite artist at one point). The title track or the soul-baring Cold Hearted 2 (make sure you stay for the end of that song)” and the standout “Oodles O Noodles Babies (prolly one of his deepest songs ever period). Meek really grew on this album, in every category. From the beats standpoint, you could make the case Meek has the best ear for beats in the game today. The samples are FLAWLESSLY done. I respect him flipping Lonnie Smith's Garden of Peace made famous by Dead Presidents (C'mon son, s**t was brilliant). I could go on, but you get the picture. Ross used to have the golden ear for beats, now Meek has it. Feature wise I wasn’t mad: Ross and Jay on what’s free and Ella Mai on 24/7 which flipped my favorite Beyoncé song, Me myself and I were both fire. Bardi showed up flexing fluently on “On Me” and even Aubrey the lovable Houston/Jamaican/Memphis/Dominican/Oakland Thug showed up on the not-trash-but-not-great “going bad”. All in all the tracklist was star studded and each guy/girl showed up and showed out.

The Bad:

To be honest there’s not much bad here. Some of the features weren’t great (Future, Young Thug with Meek on a track should’ve been a sure thing, but instead Splash Warning is probably one of the two pure duds on the album. That's sad because I really f**ks with both Future and Thug, but the track was extra regular to me. Also, the song Almost Slipped was kinda wack too. If it’s one thing Meek isn’t great at, its making girl songs. What’s worse is he usually puts more than a couple of em on each album. Unfortunately he had that 24/7 song with Ella Mae on there, or maybe it was just me loving the sample (who the f**k knows). Dangerous, which he as the lead single, is on here too. I didn’t hate it but the broads were quoting it on their IG’s all summer so I guess it was a hit. Also a couple of songs toward the end were filler to me, but I didn’t all the way hate them.

The Peanut Butter and Jelly Bulls**t: 

 
Again, not much here other than Ross giving 0 effort on the What’s Free. Like seriously big homie? You knew Jay was gonna be on the track, and you didn’t make a better verse than that?! What in the actual f**k Ross. Your verse on there didn’t even fit the song and it was trash on top of that. You should’ve hired the same n***a that writes for Aubrey next time man. Get you some better material. Also like I said that Future song was wack too. It makes me nervous because it’s been awhile since we’ve gotten some fire from him. You better be making DS3, and it better be hot because you’ve been dropping the ball all over the place recently my man. Also, let’s be honest this album was great but that cover??! Cmon Meek, it looks like someone in your team made that back in like 06 and you found it and use it. That album cover was ALL BAD. Plus the only n***as that can ice out their album covers are the Cash Money n***as. All of those covers were FUEGO back in the day, and if don’t think so you’re a lame.

There you have it, Meek comes off of the worse stretch of his life, when the chips were all the way down, and the pressure couldn’t be greater and turns in his best work yet. Congrats Meek, you walked thought the fire with gasoline timbs on and came out the other side. Philly stand up, Eagles fans sit all the way the F**K DOWN. Modern day classic rap album in my opinion. I never thought I’d see the day I’d say that about a Meek album.

Album grade: 8.5/10 Philly Cheesesteaks from Geno’s

Watch: Drunk - @Cadillacrah

One on One Records own, Cadillac Rah is back and better than ever with a brand new single, DRUNK.

The United Masters distributed track takes us on a day in the life of Rah. After the master the sound is interesting. Hi-pass filters and pitch correction sounds dope on this song. I'm sure this song will ring in the strip clubs and lounges for the Brooklyn Native. Cadillac Rah has a lot in the tuck but for now check out the video after the break.

Ransom Report IV: Diplomatic Ties (words by Charles Ransom Polk)

Put your 3D glasses on player haters, because another Ransom Review is coming straight at you. This is a VERY special one for me. For the select few who truly know me know that I have roots going back to Harlem over 20 years. I remember copping the first dipset mixtapes from the African gentleman out front of Mony (All my real fashionable people and real New Yorkers/Harlemites will know about this) on 125th street in the early 00's. I've always been a Harlem half n*gga at heart. It's just something about the music, fashion, swagger, and food of that area that I always identified with. With that being said, you can't love Harlem and not love Dipset. Matter fact, you can't be a respectable music fan and not like Dipset. Matter fact, if you don't like dipsett stop reading this, this aint for yall. And while you’re at it do seven shots of bleach and take a long walk off a short bridge. You won’t be missed, believe that. The last time we got a Dips album was '05 (Sheesh). Since then they’ve gone through more drama than the Kardashians and all the Love & Hip-Hop b*tches combined. We’ve had a few reunion false starts, so when they said new music was coming on Thanksgiving, I didn’t hold my breath. But sho nuff it arrived like a miracle. A Diplomats EP after 14 years?? Much has changed since their incredible run (they’re the second greatest group in rap all time after the Wu, and that’s a scientific fact) but no one stays on top forever. Father Time is undefeated. Do the Dips still got it? Lets begin, the Doctor is in. Time to take your medicine haters.

(PS I love the Dipset but I gotta be real that album cover was questionable as all hell-and the broad that’s walking around with that on her chest is shot all the way the f**k out.)

Intro: Stay Down (feat Trav): Off the bat you knew the Heatmakerz was gonna be all over this s**t. They go together like Trump and bulls**t. Inseparable. As soon as the sample kicked on I was like 'ahhh s**t this is what we’ve been waiting on.' All three of them get busy on the track, Juelz killed it though. Makes me think of what could’ve been had he put out more albums. One of the biggest musical what-ifs of all time. I LOVED Cam's verse. He b*tch slapped Kanye (aka the white man in black skin aka the dumbest smart person you’ll ever hear aka he only sounds smart to dumb motherf*ckers). FACTS. I love how he tried to backslide recently saying he’s not trying to talk politics anymore. Na man, you crossed the line, now stay the f*ck over there p*ssy. If you still support Kanye and you’re black I'm ashamed of you and you should be ashamed of yourself. Anyf*ckin' way the intro was PURE fuego, beats and verses.

Dipset Forever: Gahdamn the Heatmakerz MURKED this beat too. First time I heard this beat I made the same face you make when you smell those collard greens from thanksgiving a week later. This beat MEAN. All three guys sounded real good, I really liked Cam' s verse, he shouted out Charly Rambo the wave God himself. Can’t wait till Max B comes home. This song was fire as well, so far there’s no cobwebs or rust. This song is on repeat, and I loved Freaky Zeeky on the outro he’s always comedy. How many people remember him in the Hey Ma video? Classic

On God (feat Belly): When I saw that Murda Beatz made this s**t I was anxious to hear it. It’s one thing for the Dips to murk Heatmakerz tracks, but it’s another thing entirely to rap over modern day production. Thankfully this song didn’t disappoint. I like Jimmy on this beat the most even though Juelz and Cam both had bars on here. I think it’s because Jim has been the most active member of the Diplomats in the last 10 years, and it shows. He’s the most at home on modern day production. My mans Belly was a real nice touch on the hook. This song bumps play this on good speakers.

Sauce Boyz: More Heatmakerz, never ever a bad thing. When I heard this song about a week before the album dropped, I didn’t hate it but I didn’t love it. My man Juelz killed this song though, yo Juelz fix your teeth man! If you haven’t seen my man's grill do your googles, I don't know wtf is going on there. Cam was killing this verse as well. I think this was his best verse so far except for the first song; however so far this was the weakest of the heatmakerz' productions on the album. It's a solid song, but not great.

Dipset/Lox (feat The LOX): I know y’all hear Cam talking his s**t on the intro, Cam is the greatest trash talker of all time in rap after Diddy (matter fact it might be a tie). I loved this song, and I think the sequencing was key here. Cam/Jada (the main guys), Juelz/Styles P (the lyrical beasts), Jim/Sheik (the tough guys) it was perfect and the beat was fire (I did my homework, Cool and Dre did the beat). I played the hell out of this song.

Uptown: Now here comes the first chink in the armor. This song is ehhhh. I really wasn’t feeling it, and the hook was annoying as f**k. The beat was meh and the verses were kinda lazy. They were on a serious roll for the first 5 songs and then they hit a major speed bump here. Don’t get my wrong it’s not a terrible song, but it’s not nearly as good as the other songs. I’ll still replay this s**t though it’s starting to grow on me.

No Sleep (feat Tory Lanez): Bro, Tory Lanez used to be one of my fav artists but he’s gotten ESPECIALLY WHACK as time as gone on. Did any of y’all listen to his last album? Unless you’re a complete bozo you thought the album was mucho basura. His last album was ABSOLUTELY NOT worth a Ransom Review. He’s completely garbage now, which is sad because he had a lot of promise, and I bought into him once I heard that song Real Addresses. Anyway that being said besides him this song isn’t terrible it’s got a bop and for a party/strip club song it’s got potential. I could see broads twerking to this, and I’m not mad at it.

By Any Means: This song grew on me. I really liked this beat and all three of the dips did their thing. There’s really not much for me to say here. It was a decent song not a great song, but it was decent which I’ll take as a W for the Dips in 2018

Outro Un Casa: Ok now when I first read the tracklist I immediately saw this and I gave the people’s eyebrow like the Rock. Now y’all may or may not remember Un Casa. He was on the unforgettable intro to Diplomatic Immunity (Kanye produced the track-Little known fact) and he had a top 10 hottest dipset song of all time: Purple City Byrd Gang. Still to this day that beat is FUEGO and Jimmy dancing in the rain with a purple umbrella and casa rapping next to a purple piano in the midst of the projects is CLASSIC. But that was all over a decade ago. I didn’t want nor NEED Un Casa in 2018. Like my brother in law said to me, they threw him a MAJOR bone on this one. Because no one but his moms is looking for Un Casa in 2018. He probably took weeks to write his bars and they were still trash and super tired. I would’ve loved to hear JR Writer or even Hell Rell on there. I can understand they tired to recreate what they did on their first album but they failed miserably. And plus you guys only gave us 9 songs after all this time and one of the songs was wasted on UN KASA? Cmon son, that song left me with a bad taste in my mouth (no homo, word to Cam’ron). It was a major misstep to end the EP.

So after 14 years we got 9 (really 8) original songs with Cam Jim and Juelz, with freaky talking s**t here and there. I’ll keep it short and sweet, and I'M NOT talking like an “Old Head”, I already told you haters what you can do with those “old head” remarks. To be honest, I was feeling the album. It wasn’t great but it wasn’t bad at all. I was expecting a lot more rust than I heard and a lot less chemistry than I heard. I’m glad they made an EP and not a full album. The brevity definitely helped. I don't know what would’ve happened if they made a full length album. OF COURSE it’s not hotter than Diplmatic Immunity 1&2, but it wasn’t ever going to be. The real bottom line is this: After all these years I expected a little more, but after all these years what I did I REALLY expect? On Thanksgiving I was thankful for what I got from the Harlem Trio. Dipset now and forever.

Album grade: 6.8/10 Pink Range Rovers

@HERMusicx's I Used to Know Her Tour: Brooklyn Steel (a recap by @RamseySaidWHAT)

An eventful Thanksgiving weekend might have cost my car a smooth 300 miles but it was totally worth it.

Where most of you got to spend time in the living room in the living room eating soul food with your families, I got to do that AND MORE. After catching Ja Rule in Atlantic City and Creed II (soundtrack and score is fire by the way) in theaters. I got to make up a birthday present for Shorty last year. I secured H.E.R. tickets for her Brooklyn stop of the I Used to Know Her Tour. I'll put you in the room as best as possible.

I'll start with a story. The reason this is a make up present is because a year before we arrived late and missed half of H.E.R's set on Bryson Tiller's Tour at Radio City. H.E.R was the reason we were going in the first place and I dropped the ball. You know I was punctual this time around. We arrived in time for sets from DJ Aktive, Jersey's own Tone Stith, and Philly native, Bri Steves. All of them are crazy talented with beautiful voices. Tone can dial up a fallsetto on cue whenever he feels like it with ridiculous control. Bri Steves is a fun performer and has a versatile voice gritty enough for rap and sultry enough for the blues. The mix of her crossover skill and her personality makes her pleasantly sexy. She's funny and treats the crowd like she's having a one on one conversation, but with music.

The lights go down and DJ Scratch asks a question that everyone in the crowd answered in a lie.

"ARE YOU READY FOR HHHHHHEEEEERRRRRR?!???!?!?!?!"

There is no way in heaven or hell we could have prepared for the experience that preceded us. Before the lighting man crescendos strobes down to the stage and crowd, guitar arpeggios brightly round to the tune of Carried Away. Her very animated backup singers greet the crowd and the band grows louder. The lights go down again and in enters a spotlight follows the big hair figure we have all memorized in our heads. H.E.R enters stage right and begins serenading the sold out Brooklyn Steel. Before the song ends she makes her way through a bunch of instruments including acoustic and electric guitars, and then a pair of drum sticks. She doesn't stop playing at the end of songs. She plays the percussion to the next song while the melody rings from the last. When the Carried Away ends the drum set player carries on the boom bap that HER began. She chucks deuces into the air and the band begins playing 2. It all sounds like one long song and I think it's wonderful. One of the best that does it next to George Clinton.

Finally the song ends and she introduces herself before the next track. She goes through Vol. 2 and her prelude EPs before taking us back to Vol. 1's classics. I should have been prepared to go to my second service of the day because it was church in that ballroom. Best Part may be a song of this generation one day. Live is just as good as the studio version. I think everyone held their breath thinking Daniel Caesar would come on stage but they played the first few words of his verse before her male backup showed out for the ladies in the crowd. If you never experienced love before listen to this song and catch it live if you can because WOW. Her crowd participation is dope, and you should have seen what it looked like when everyone held their phone up during her performance of Lights On.

I swear no one in this crowd missed a lyric throughout this whole show. Like her music, we went on a roller coaster journey of love, longing, vulnerability and more during this set. I think one of the biggest moments came during her performance of Could've Been. It starts the way her live one does on her Up Next Session with Apple Music. DJ Scratch mixes that perfectly with verse two on the EP. Before you can think about it the crowd goes wild and Bryson Tiller joins her on stage. The two croon to each other with mere feet between them. I won't be cliche and say they are dating but one begs to question. Tiller then performs Exchange and exits but not before praising his former tour-mate. The icing on the cake was her performing Make it Rain with her acoustic. I told you earlier it was church and when she ended a few Hallelujahs blared out and someone even fainted not far from us. Turns out it was a dude. Humbly she threw her water bottle into the crowd to help the man in need. She jokes about how she felt like Michael Jackson because that never happened to her before.

I must say that I'm glad I got to smell the flowers early. I may have been one of the first on the HER wagon when Vol. 1 first dropped. It's not about who heard it first because music is meant to be shared. I'm not sure anyone saw H.E.R. topping the resurgence of R&B and becoming as big as she is. Brooklyn Steel may be as intimate of a show as you'll see H.E.R. from now on. I enjoy my R&B on a small scale. Coffee House Jazz feel. Where she doesn't have a large catalogue of music yet, she very well become a megastar. Small stages and standing room only ballrooms are going to become theaters, festivals, and stadiums. They already are as I type. The now Brooklyn native, is huge and I'm thankful that I got to see it from the beginning. I fear (but in a good way, I think) that I'll never get to experience her any more personal than I had November 25th. There's no other way to say it but it was beautiful. Her voice is so raw. Her backup is just as talented. She's such a musician and her riffs and runs give you goosebumps. You can literally feel the hair standing up your spine. You need to see her as soon as you can before you gotta break the bank. That day is coming, soon. This is probably one of the best live shows I've ever seen since covering music and that's real.

Listen: Like A Brooklyn Nigga - @mainohustlehard

Let's take a trip to Brooklyn, and I'm not talking about Williamsburg. Let's take it to Do or Die - Bed Stuy.

On this new single, Like A Brooklyn N*gga, Maino gives us a day in the life for a Brooklynite. The production and percussion is so dope. This is the kind of track meant to blast in the whip and it's guaranteed it will be rocking the club all winter. Get used to hearing this. This is the most recent offering since Choosin' with Jxhines & Emerald earlier this year. No word yet if this single is the lead for an forthcoming album or project but keep an eye out. You can listen to Like a Brooklyn N*gga everywhere but we've embeded a snippet below via Soundcloud.

Watch: Still Love Me (EASTWICK) - @Moruf88 & @ikenna92 (shot by @SAEWESSA)

MoRuf and Ikenna linked up for a brand new visual, STILL LOVE ME (EASTWICK).

It's nice to hear Moo back behind a mic as this is the first thing to drop since Loosies two years back. Much has changed but the Love Over Everything vibe is still the same. If hip-hop were truly married to R&B and they had a kid I swear it'd be MoRuf. He and Ikenna trade bars from the barber shop to the streets on this GlassCity produced beat. While checking his cousin Jeff's IG, I peeped he recently got hitched. God Bless. You can catch that on the tail end of the video to be honest. I wonder how life's perspective change will work in his art. Hopefully this is the beginning of a series of new content. Only time will tell. After all, not all your art has to come from pain. Check out Still Love Me after the break.

Watch: Doin' The Most - @SadeEmoni

Warm up on a chilly fall day by checking out the new visual to Sadé Emoni's latest single, Doin The Most. This is the first follow up to her 222 EP.

From the beach to a House Party Sade was doing her thing while ole boy was sweating her. The beat and choreography is dope and the House Party references were clever. Even Momma Emoni made a camea during the turn up. Not for nothing I was rooting for ole boy until I saw the end. I'll leave that for you to watch. Check out the official video for Doin the Most after the break.

The Ransom Report: Carter V - @LilTunechi (words by Charles Ransom Polk)

Just when you thought it was safe to have an opinion on music-#RansomReviewSeason has returned (puffy combs voice) I'm back like I left my keys on the table. There were some albums that dropped since the last time you read my words on this page (looking at you Onika, Travis and Marshall), but I wasn't inspired to come back. Beanie Siegel said "Sometimes you gotta go away to make a comeback" and I paid attention when he said that (that first state property movie is and always will be a bonafide hood classic for the record). However, when I saw the (former) Cash Money creature drop the bombshell announcing the long-awaited Carter (C5) finale, I knew it was time to pick the pen back up.

Sheeeeesh, it's been 7 years since C4 (which was hot and spicy whack sauce), and since then he was at war with Mr. Handrub himself for the right to come out with this project. I won't waste time with giving you the recap (if you don't know the story google it and come out from under the rock you been living under). I'll just cut right to it. The burning question on everyone's mind is: Does he still have it? They say that all the great fighters have that one last great fight in them. In Wayne's case, does he have one last great album in him? Let's review. This might not be what you want to hear, but it's what you NEED to hear, whether you admit it yourself. The Doctor is back IN.


I Love You Dwayne: man, I can't even talk my s**t after that intro. That was raw rough and uncut. His mom plays a big part in this album, she serves like the narrator of his life, popping in at certain moments to explain key moments in his life. If his mothers words on that intro didn't hit you right square in the chest, you and the Tin man have something in common.

Don't Cry (feat Xxxtentacion): This is a gloomy a** track to put right after the intro. The overall vibe of this album is more about triumph, soul-baring redemption and retrospection. None of the s**t on this song. I like how he says "don't cry, stay tuned" at the end of the song. Guess he's setting up the rest of the album. Not a big Xxx fan, God bless the dead, but he wasn't good on this song. Wayne's voice sounds extra syrup-withdrawled on this s**t. Some of his lyrics are just as tired, but it's not a terrible song. I don't hate it. That much.

Dedicate: Hmmm, my man ate his spinach on this one huh? I think this is one of the older tracks recorded for this album. One of the interesting things listening to this s**t is figuring out which tracks were recorded when. This must be one of the old ones. You can tell by his voice and delivery-they're both WAY stronger than that first track. I'm loving this beat, s**t got that bounce. He should've made THIS the first song after the intro (I need to stop f*****g around and become an A&R). He ripped this beat to shreds. I like the Titty Boi vocal samples sprinkled in, and that Young Barry vocal snippet at the end was official. That's also from 09 which gives you a time period reminder. Damn I miss him in office. Seriously, I wish we could revise the law, get Mr. Spray tan man out of there and get Barack and Michelle back in there. For real. Anyway song is hot.

Uproar (Feat Swizz Beatz): Ahhh man, here we go. Bro, WHO THE F**K KEEPS KEEPING SWIZZ BEATZ IN THE MIX ?!? Seriously they need to be dealt with. Bro, my man drops a hot beat/song one in every 100 songs he's on, the other 99 are GOD AWFUL. This s**t is SUPER whack. He even had the nerve to recycle one of the last NY anthems to come out, Special Delivery. EVERYONE was Harlem-shaking when that song came out, myself included. That's one of my go-to dance moves every time I'm at a black wedding, and 85% of the time, it works every time. #facts. Back to this f**k of a song, skipped quick fast and in a hurry.

Let It Fly (featuring Travis Scott): Ok, so here's the long and short of it: I'm not a Travis Scott fan IN THE LEAST. He's whack. You can put those "oh you're just talking like an old head" peanut butter and jelly bulls**t back in your pockets. I like MULTIPLE "new school" artists, and I catch flack for it from "old heads" all the time. Travis Scott is just real annoying and unnecessary and useless to me. He literally has no talent. I ask you Travis Scott fan: what's so "awesome" about him??? Go ahead I'll wait. Maybe a tiny bit as a producer, but I'd rather take shots of s**t and battery acid than listen to him. That being said, the beat is ehhhhh but not great, and Wayne is back spitting like an AK with a 100 round drum. I heard that this song is from 2014/15 so maybe that explains it. Song is skippable but not super skippable.

Can't Be Broken: This s**t sounds like he stole it from Eminem or Joe Budden. I half expected to hear Marshall or Jumpoff Joey on this. If Em had been on here it would've been spazzatura (that's garbage in Italian you smart dumb motherf*****s); Unless it was MAD old, because let's be honest, Mashall hasn't made a hot album in well over a decade. I hate to say it but ever since he got clean and sober, his music prowess evaporated. It was one of the reasons he was transcendent at his peak. Eh oh well, applause on your sobriety. Just stop making music now anyway on this song we get the first glimpse of a truly rare animal: soul-bearing Wayne. He's going deep (Pause) and that's something he's done only a few times. This is a theme on this album, which we see more of as time goes on. I liked the song. He even went the whole song without punchlines about money, b*****s or his d**k (MAJOR pause). I enjoyed the song, not mad at it.

Dark Side of the Moon (feat Nicki Minaj): Cot damn, this s**t is FIRE. If Birdman was holding the album back, it wasn't because of this s**t. This song is real good. The beat is beyond hotness (*checks album credits*) Bloque I don't know who the f**k you are but you did your thing on this song my G. Salute. This joins the list of memorable Wayne deep cuts (How to Love, Tie My Hands). This s**t is actually a touching song. This song is older for sure, because there's no way his voice is still this smooth. Ain't enough auto tune in the world to bring that back. But let's get to the REAL revelation: I never thought I'd see the day I'd see this, but here goes: I LOVED Nicki Minaj on this track. Welp, I guess the end of the world really is coming soon: Trump got elected, the Eagles won the super bowl and I loved a Human silicone Thirst trap feature. Guess I better get going on my bucket list. Great song, I'm playing this song multiple times.

Mona Lisa (feat Kendrick Lamar): Most of the time big name hype collabos disappoint. Also most times when the old lion gets on the track with the young lion they get embarrassed. Kinda like when Mike thought he still had the juice and tried to D up a young AI. He didn't have the juice. AT ALL. But this is not one of those moments. This song is tough as f**k, and it wasn't just mindless verses trying to outdo each other, it's a concept song. You gotta listen to it multiple times to get the whole story. Now I'm not the biggest Kendrick fan (for MANY reasons), but that's not to say he's untalented. He's definitely talented, especially on concept songs. The fact that Wayne holding his own very ably is outstanding, AND I'm told this isn't one of the older songs. This is relatively new. Guess he smoked some of that mythical space Kush the Russian cosmonauts grew on the space station back in the day and got busy in the booth. Hot a** song.

What About Me (feat Sosaman): This sounds like vintage mixtape run Wayne. He used to love those druggy ballads (i.e I'm Single (to this day a FIRE track)). This is right up there with that. I'm liking this track as well, and is clearly an older track, but it's real hot. This is one of the tracks that reminds you that when he was in his prime, he really was the best. He could body any type of track. Now that I'm done giving out daps, let's get to the other side: who in the actual f**k is Sosaman?? Dude almost singlehandedly RUINS the song. He sounds like he's from Florida. The area in Florida where Rick Ross's goons come from. That's an advantage if you're trying to bust your gun, get money and do home invasions with gigantic dreads and gold trick daddy-type grills, but not if you're trying to be on an r&b fusion song. I put out an APB for the tan titan himself, Drake (where the f**k were you at on this album man?). This song would be been PERFECT for his charmin' singing. I did some research, turns out Aubrey was supposed to be on this song, but he didn't end up putting a verse on it. Guess he was too busy hiding the world from his kid. I also heard Post Malone aka the human white muppet/culture vulture on here. Hell, I'd have tolerated HIM on here over Sosaman. He almost f****d this whole s***t. Almost.

Open Letter: I'll be dammed if I'm not I'm liking this s**t too (who woulda thought that I'd be liking all these Weezy baby songs back to back in 2018). This song is hot too. It's a newer sounding song, but this s**t still bumps. He starts killing the beat midway through the second verse. If you really listen, he's talking to the listener the whole time. I better stop and make sure it's not 2018 and not 2008, because this album is starting to make me feel like he's got his swagger back. If it's 2008 again, I won't be rocking those extra-extra baggy Evisu jeans again with the AF1's. That needs to be left dead. Everyone with pictures of me during that period knows if you post any of them on social media you will promptly be receiving a cease and desist letter from my lawyer.

Famous (feat Reginae Carter): First thing you hear is Wayne's momma. Then the second thing you hear is Wayne's daughter. Singing, and it's NOT bad at all. Auto tuned sure but still good. She was perfect for singing on a hook about her fathers journey through super-stardom. This song sounds super personal, and Wayne is rapping like a man looking BACK on his career, NOT looking forward. Like a man who's truly seen it all and been through it all. Very heartfelt song, this is the most he's let us into his life on wax EVER, and it's great. Not mad at it at all. I'm not gonna play it mad times but a real quality song. I love how after all that beautiful stuff he says "kiss my muaf*****g a**" at the very end of the song.

Problems: AH S**t now as I was listening to all these ballads and all this soul-bearing s**t, I was thinking in the back in my mind where's the hot s**t at, and right on schedule he snuck one in there. Like a good fighter he lulled y'all to sleep with that other s**t then rocked you with an uppercut. As soon as the beat came on I knew what it was. As soon as I heard the little "Zaytoven" snippet right before the beat dropped, I was like hell yea he hit up ATL for a track. If Future Hendrix had been on here it would've been a wrap. Oh well. Future is probably kinda pissed at Zaytoven for giving Wayne this beat and not him. I would be, anyway. When he said "I should have a tattoo that says 'I'm nothing like my dad' I was like damn, he really hasn't taken any shots at Birdman. Guess it's all good now that the check got cut. Anyway for anyone wondering what he would sound like on modern day trap beats you have your answer. S**t bumps play this on good a** speakers not those weak a** apple earbuds.

Dope Ni**a (feat Snoop Dogg): This sounds like some old s**t. You can tell from his voice he's mad young. I'm loving the sample, for all you little f**ks it's from a classic Dr Dre track. Go look it up. Or not. If there's one thing I'm glad about it's that they didn't let Snoop get a full verse-see. I love Snoop but let's be honest the last time we were actively checking for a snoop song. It was drop it like it's hot and half the reason why was because of the beat from Pharrell. That being said it was a good song.

Hittas: Ok, first before you listen to this song go back, and go YouTube Wayne's deposition. Type that in, and get some popcorn because that s**t is CLASSIC. Anyways, this song was ok but definitely a throw away from whenever he was first in album mode. The problem is I think 90% of these songs are old. Sometimes on this album the old songs work, but more and more as the album goes on it seems like there too many older filler songs, like if this song came out years ago I would've f**ked with it but now I'm like eh skip.

Took His Time: I like this s**t right here, I LOVE this beat right here. Whoever made this beat I'm too lazy too look it up at this point, but I salute you. Weezy is weaving in and out of this beat like he was weaving lane to lane down in Miami off that syrup. Which he definitely has done at multiple times at this point in his life. It also is ABSOLUTELY an older track probably old as all f****n hell, but idgaf. This reminds me of back when Wayne was capable of murking anything he put out. Real good a** song.

Open Safe: See here's another dude I can do without: Mustard on the beat h*e. He's like the west coast swizz beats. He makes one EXTREMELY hot a** beat every couple of years and spends the rest of his time making dumb s**t like this. The beat is SUPER basura. Wayne probably bought this beat back when he first started getting hot, and was just making BS left right front and center. The really sad thing is that he probably spent too much cash on the beat that he couldn't scrap the song because this s**t sounds mad old. Back at the time when Mustard was the hot thing in music. Oh well he's spitting on this s**t but I'm skipping this s**t.

Start this S**t off Right (featuring Ashanti): Now when I saw Mannie Fresh was on this track producing I was waiting for it. I wanted some old school geurilla warfare s**t some rebook and gibraud jean s**t some hot boy gutter s**t that you know I love. Instead I got this nonsense. Bruh stick to what you know. This s**t was wack but the part when he said "Tell em I been rich since the Hot Boyz" was great. Dude wtf is ASHANTI doing on this song??? Now this sounds like some posthumous Tupac release type s**t man, like they just get some b-level talent that's out date to hop on songs with pac it seems like this is the story with this song. This song sounds dated as hell and not in a good way at all. For the record Ashanti is still BAD AS ALL HELL. If you don't believe me check the IG.

Demon: This song is kinda hot. The sample reminds me of some s**t Three 6 Mafia would've made, but they didn't. I'm not gonna lie he could've cut this song too because it's pretty forgettable. I guess since we had to wait so long for the ghetto soap opera to close and the album to finally come out that, I guess that warrants him putting the album throwaways on here as well.

Mess: You know what? That r&b album Wayne promised back in the day (remember that kids?) doesn't seem to crazy anymore after listening to this album. He has multiple really good r&b-tinged songs on here. He should've made a r&b album instead of that Rock album abortion. My question is this Birdman multiple sources have said you didn't want him to come out with the carter v because you said it "wasn't that great" but you let him release that rock album? Riiiiiiiiiiiight.

Dope New Gospel (featuring Nivea): Hmmmmm, I didn't want to like this song but after listening to it a couple of times I really am not mad at it, nor am I mad at Nivea singing on it (I still forget that's a Wayne BM, and Lauren London. Sheesh that gremlin hit some bad a** b*****s off). Anyway, I like this song in a throwback way. I feel like I could've seen this video on 106 and Park back in 09. Before Bow Wow hosted that s**t and ruined it, that was the black TRL word to AJ and Free.

Perfect Strangers: Again, he should've made an r&b album. I actually really like this song, but if you want to know the honest truth there's WAY too many songs on this album. It's starting to drag under its own weight, but still this song was hot. I wish he would've dropped this whole album back in the day it probably would've saved his career.

Used 2: This song impressed me. I checked the production credits and I found out it was Metro Boomin. Ok Metro this was a nice change of pace for you. Hats off to you. If you listen to the lyrics he's talking about baby and his entourage. This song was probably recorded when things started to go south between them. It's interesting to listen to this album, its almost like listening to a time capsule, you can kind of try and figure out when and what time period these songs were recorded.

Let it All Work Out: And here we are: The Grand Finale. The most talked about song on the album. I really loved this song. This song kind of encapsulates everything we love about Wayne: clever punchlines, the singsong flow, the confidence, and the new wrinkle; soul-baring. He finally reveals here that the infamous gunshot wound he sustained as a young bull was a suicide attempt, not an accident like he's always said. He evidently was so upset that his mom wanted him to stop rapping that he took a gun and tried to end it all. That's real. He always said music was his life, so now we see just how important it is to him. But he didn't die from it, and music took him to the top of the mountain. Just like the sample says (whoever made the beat murked it) his last words on the album sum it up.

Sheesh man. This was another long a** haul. Between Aubrey's album and this one I'm tired. I'm getting too old for this s**t. The next one I do is gonna be a normal A** album. So what did I think: I liked, I loved, I hated, I skipped, I s**t on, I bumped, I overall enjoy this album. Period. I think it's a perfect way to end an absolutely illustrious career. Please, choose this opportunity to walk away Wayne. This wasn't a Black album type retirement album; when Joe Camel first stepped away it was different. There was still some left in the tank, and neither he nor the public thought it was his last. It obviously wasn't, this needs to be the end man. For all the years of BS you proved the doubters wrong, you turned in a solid (if not a little bloated) album after 7 YEARS. That's a huge accomplishment. Sure there were plenty of sub par moments on the album, but that's fine, no one is perfect. You of all people should know and appreciate that. So the question is answered: the great artists, like the great fighters always have that one last great fight/album in them, and like Wayne says at the very end of the last song: In the end, it all worked out.

Album grade: 7 Birdman hand rubs/10.

Listen: Nothing to Say - @everwxnder (prod. by @Darren_Gooden & @JimmylongMYFR)

About a month back we have new music from the Fort Meyers own, Wxnder Y.

If you aren't familiar, Nothing to Say would be a great introduction. The Southern Florida singer has a pretty dope voice and an even better falsetto. I really enjoy the production assisted by Darren Gooden and Jimmy Long. If you like eclectic sounds and subgenres of R&B, you'll love Wxnder Y. Nothing to Say takes us on a retrospective trip of past love he wants again. I highly suggest you listen to this in headphones for how well it was engineered. The mix is fire and the audio crossfades between headphones. I love when music does that. Well done.

You can listen to Nothing To Say by Wxnder Y anywhere you stream music here and also below via soundcloud after the break. Keep a lookout for Wxnder Y, we'll do the same.

Review: Pay the Man - @lowcollege (words by: @RamseySaidWHAT)

"Everybody can't go where we going."

Joe College speaks truth about the journey. This was the only recurring theme in this project considering it rang off before every song crescendos in. Perhaps it's not as deep and figurative as I'm making it out to be but I felt it. You could also take it literally considering they just switched coasts on us and he's out in LA these days. It's been awhile since I reviewed a College project but I wasn't expecting another one this year given the success of CivXSav Forever.

This won't take long as listening these seven tracks only takes 24 minutes of your time. These days that's been the trend of these EPs or Albums (whatever you want to call it). When I asked him he chalked it up to coincidence.

"It ain't an EP, it ain't a mixtape, it ain't an album. It's just Pay the Man lol"
Joe College

I sat in a studio session with College and Party about two months ago. There was a beat with a particular 90's R&B sample that I have to keep under wraps that they were working on. The &Drew produced beat didn't make the project; however I attended a recent show at the Saint in Asbury Park, Drew informed me that it might make the cut on the album we can expect next year, a homecoming of sorts. Let's rap about Pay the Man.

The lead single, Right Back, got a visual treatment the day it dropped.When Right Back came out I should have expected a project but I wasn't sure considering CivXSav Forever dropped last winter. It sounds a little different opening up this listening session, but it still holds weight. Ya N***a Could Never which features Luv Child follows up. I thought this verse sounded familiar. Per College that was the verse he originally had planned for that aforementioned 90's sample produced by Drew. Good thing he went with this one because it fits nicely to the smoothness of the beat. He flexes his signature braggadocio flow while Luv Child cosigns with a less than arrogant more than humble outro of his own. Drew and Party collab on a production tip for this one.

For Mom (Sunset) is next up and features some background vocals and production from Party. Joe College is a clever fellow. The title of this track is lowkey a double entendre. It's a message for his mom that her son is set (Sun-Set, get it?). Maybe I'm thinking too far into it but the song is dope. It's a beautiful conversation between mother and son. It's interesting to look at parent child relationships from retrospect as we age and this is penned wonderfully.

Remember Day Sut? She got the feature on the next track Shame on Us. Wesley and Spike Lee strike again (Joe College and Party Michael). The addition of Long Branch native, Day Sut helps make this some real life mood music. Pay this in the whip with your shorty windows down on Ocean Ave on a warm day. Speaking of music for the whip, In My Jeep is the only track solely produced by Qdottdavis. After listening to this I must say Q is one of the most slept on producers in Jersey. The problem with a lot of artists is they don't know who they are and follow whatever trendy sound is the new thing. Q has their identity figured out. The CivXSav Music clan is one of the most complete in that aspect.

All put two tracks had features on them but none of them were from another rapper. All of them were R&B singers. The blend of R&B and Hip Hop on a whole project make for a great mesh. We are seeing College mature sonically and in wordplay. Without Me is so mature. Sure he brags but what rapper doesn't. The track is about a breakup that didn't end in toxicity but because the timing was off. Who in their mid-20s has that figured out (and also raps)? Just saying. Although this wasn't meant to be listened in any particular order the sequencing was still pretty good. It almost sounds like a beginning middle and end as far as as story goes. College and Qwik took off for the City of Angels so this is gonna have to hold us til they make it back home. Godspeed. You can grab Pay the Man anywhere you stream your music but I've made it easy and embedded it below. Press play.

Review: Demonstration EP by @OnlyBisi (words by @RamseySaidWHAT)

OnlyBisi is probably one of the artists I've been most critical of since first listening to his music. You can ask him he'll tell you. It's only because of how great I knew he could be.

To this point in his discography he's been a blend of all the music I listened to in college when I was jumping from dorm to dorm running around chasing whatever girl I was into at the time. His new project is the culmination. No one was more excited for this project than I. Especially following up his work on the hook for David Michael Jonze's Shea Butter earlier this year. Demonstration is many things. The songwriting is mature, direct, sometimes vulgar. If you told him he'd remind you that his music isn't written for you, it's for her. Whoever she is, she'll love it. Let's get to it.

The project takes us through a phone conversation between Bisi and the young lady he's dating. I think the skits through a high-pass filter gave the project some character and it was very well mixed. The introduction starts with a guitar chord progression that will continue in the next track, Throw It Back. His lover expresses how complex of a man Bisi is in a way any man would love his woman to speak to him. I'm almost jealous. The aforementioned lead single blends through with an added 808 kick and bassline to join the acoustic. Throw It Back would sound fire with a Jersey Club remix treatment. I could see it now at all the parties, a straight movie I'm telling you.

Bisi takes things in his own hands as his name is on every production credit on the album. If it wasn't self produced and a live guitar arrangement (yes, he plays the strings too), LehkzTheVamp is the only name on for a production assist. Priorities and Happy 4 U are the meat and potatoes of this. I'm not sure how my girl would feel about me writing a song to an ex but if I ever did it'd sound like this. This is the most grown up conversation between exes I've ever heard. I could see this playing in an episode of Insecure between Issa and Lawrence. The Game Plan is wild. I'll leave it at that. You gon' have to listen for yourself to see what that means. You already saw what I had to say about the So Wet video earlier this week. I think it serves a good ending of the project.

Long story short, if Demonstration came out in 2011 I may or may not have a few children running around. His voice is unique, he's not afraid to take chances. On top of that he's a superb songwriter and will fallsetto like a G (whatever that means). He kills it when he goes for it, stank face guaranteed. The skits put you in the room. It's so realistic. I'd play this project in a quiet moment with shorty but it's running time is only 15 minutes. I might need a little longer than that (I'm talking about the music, ya nasty). If I were DJ'ing a sex set I'd play songs from Trey Songz's Anticipation, 12 Play, Would You Mind by Ms. Jackson followed by anything off Demonstration. This is the best Bisi yet and I know it'll get better. Seven tracks is enough to hold me to the next release. I need y'all to feel this.

You can grab this on Apple Music and Tidal today.

Listen: Distraction (Kehlani Cover) - @Day__Sut (prod. by @partyxmichael)

I always love getting the early scoop on new music and artists. With that being said new on the WTM Radar is Day Sut.

If you haven't heard of her she was featured on Joe College's Shame on Us from his most recent offering, Pay the Man. More on that next week but Day Sut also got a production assist from Party Michael for this cover of Kehlani's hit, Distraction. Since I've had this in my headphones for a few weeks now I've had ample time to listen. She's dope and I enjoy that the production and engineering help give this song some character. It isn't done traditionally as the studio version of the song. She really makes the song her own, and I like that. Now that it's mixed and mastered it sounds wonderful. At times, Day Sut should have taken some more chances vocally, because she's definitely capable. Having more control of her breathing is something that could help improve her sound moving forward. All in all this sounds better than a rookie effort. The only direction is up from here for the Dallas native. Check out the Distraction Cover from Day Sut and keep an eye on her around these parts.

Watch: So Wet - @ONLYBISI (shot by: @jonzevishun)

Well where do I start with this one?

This song is just nasty. If you're not into it, get hip quick because that is the name of the brand that is ONLYBISI. The Phone On Silent just dropped a new EP, Demonstration. For the longest I've been excited for a Bisi project and it's finally here. Below is a video to one of the singles, So Wet. The Newark native crooner takes a page out of D'Angelo's book singing shirtless in front of a portrait background How Does It Feel style.

"If the coochie wet and gushy then its gucci coochie. If its gucci coochie with a condom on it still feels sushi."

Whether we want to admit it or not we all felt that. I promise he not singing it to me ladies. Look out for our review of the project this week on Thursday, but for now check out the sultry video to So Wet after the break.

Listen: 222 EP - @SadeEmoni

I just want to start this by Congratulating Nicole Fowler and Josh Hagwood for opening up the 10Ten Art Gallery in Orange, NJ last weekend.

In true fashion they opened the building with a night of performances from poets, rappers, and singers. During the evening there was a lot of great acts playing in front of the incredible Music Cafe band but the one that really caught my eye (ear rather) was Sadé Emoni. Her set began with a few covers and I must say what I enjoyed about her is her interaction with the crowd. Although unorthodox I've never heard an acoustic cover of Drunk in Love, and not for nothing she crushed it. If you ever get the chance go see her live. After the show, I introduced myself and did my research and listened to her 222 EP that dropped last year. Just like her live set she takes risks with her riffs and runs. I like that. She didn't play it safe and was sangin' (past tense, SANGIN'). At opening night of the gallery she performed Always. I must say as much as I enjoyed it live I like the studio version just as well. She's a beast and modulates so well. The concept of the project is dope and the skits take you on a journey of the contemporary relationship. I really want you guys to listen to this project. I think it's a wonderful introduction to a new artist on the WTM radar. I need you to feel this. Listen to 222 EP below.

Watch: Summer Love - @Bekhari feat. @_TheRealKarma (shot by: @goodbreedfilms)

Next week is the technical end of the Summer so we still got time for more love right?

New on the WTM radar is Bekhari. She's a songstress from Newark and and from what I can tell, she's a stylist as well. Maybe that's why her aesthetic is so fire. This new video shot by Good Breed Films is to her new single, Summer Love. The song is upbeat with a horn section and percussion sounding straight from the 90s. She has a beautiful voice and speaking of nice voices, the track features Kärma. From the beach to a studio canvas the visuals are stunning and so is the Black Girl Magic. I can keep talking about it or you can see for yourself. Check out Summer Love below.

Listen: RAP DEMON - Shiitbagg

Shiitbagg comes fresh off the plane with a brand new freestyle, RAP DEMON.

You could have guessed the beat is the MGK's diss to Eminem, Rap Devil. Here's the difference: Vqrhees killed this beat. What I love most is that he doesn't adopt anyone's flow here. In fact he keeps changing it over and over without making a hook. I think the best rap is when the artist doesn't have a chorus.

"I am not a saint, I'm a demon, 

You are not a thug, you a deacon. 

Came up from the mud, I was bleeding, 

I don't f*ck with 12, I ain't speaking."

Let's be real: The Neptune upstart can flat out spit. Don't believe me? Check out his newest project, Metal Gear Solid. In fact, look out for our A-Side B-Side Podcast Interview coming out soon.

A-Side B-Side Podcast: Episode 013 - Mac Miller Minisode

It's Story Time!

K-Razy and RamseySaidWHAT are back with a brand new episode of A-Side B-Side Podcast. So much has happened in music world since you last heard from us. We'll attack it all in another podcast. In this one we pay tribute to the late Mac Miller. Kyle and Ramsey exchange stories of when they first heard of the Pittsburgh emcee, his growth, and more. Ramsey even tells a story about how he interviewed him on the radio and a wild story about meeting him after a show. This one really shook the music world and our thoughts and prayer are with his family, friends, and a host of people that were touched by Mac and his music. This episode is dedicated to him. God Bless. I need y'all to feel this.

The Music in this Episode is Self Care (Oblivion) by Mac Miller.

Listen: Pirate Love - @MonaBrea (prod by @ALLCAPSFRED)

There's two things I really really love in this world. One is discovering new music and the second is cleaning my house bumping Evelyn Champagne King.

Mona Brea has helped me knock two birds with one song, I mean stone. This new Fred Philp Jr. produced (and co-written) single, Pirate Love, samples the disco classic, Love Come Down from the legendary artist that gave us other hits like Shame and Your Personal Touch. Hailing from Central Jersey, Mona is fairly new to the scene but let's be frank: This song is a bop. Her camp describes her as a neo soul and Erykah Badu influenced crooner that challenges the sound of today's R&B. It's a soulful banger that'll make you dance your way out of the games your summer crush keeps playing. Outside of my living room you can bump this at your end of the summer cookout or any function to be honest. In fact invite your summer jawn to the cookout for one last stroll across the dance floor. You can listen to Pirate Love below and you can also listen on your favorite streaming service here. Check this one out, you won't regret it. We'll keep you up to date with Mona Brea. Remember the name. I need y'all to feel this.

Listen: T I M E (Remember the Time Cover) - @PartyxMichael

60 years and one day ago the King of Pop, Michael Jackson was born.

Yesterday in memory, Party Michael remixed a cover to one of my favorite joints from him, Remember the Time. I'm actually pretty surprised by this. Let me explain why. Party has a history with New Jack Swing as a genre. Instead of redoing the cover as written he gave it the Party treatment. It reminds me of the way The Weeknd did Dirty Diana on Echoes of Silence (Trilogy) some years back. It's unique. Make your own opinion. Listen to T I M E by Party Michael after the break.
 

4 Reasons @MsLaurynHill needs to Release a Sequel of The Miseducation by: @RamseySaidWHAT

What's the Movement main goal is to platform artists of all kinds in New Jersey and then outward. Occasionally we'll pull some opinions on the mainstream and outside of the area bringing you the dope music you may have never heard yet. This piece kind of gets to be a loophole. I mean Lauryn Hill is from New Jersey right? Right. I previously did write a piece on the Miseducation of Lauryn Hill as a tribute and Throwback Thursday deal a few years back. I have mentioned this idea a couple of times and never put it to pen so this is it. Remember I said it first because I'm sure another music journalist/blogger/A&R or even artist themselves are going to take credit for this. You've seen it on WTM by Ramsey first. Here are four reasons a new Lauryn Hill album needs to happen.

The Re-Education of Lauryn Hill...nice ring to it right? Let's face it, The Miseducation is probably one of my generation's greatest complete projects of any genre. Whether you want to admit it or not it's not a big reach to say that. Still questioning my judgment, how about you question the recording academy and the five Grammy's they awarded her in 1999. The project is eight times platinum. Well in this country at least. These numbers are long before the streaming era my friend.

Pre-Y2K was probably the renaissance of neo-soul as a genre and Miseducation was right at the forefront of it. The way R&B has grown and the collection of subgenres that have been birthed from it, it'd be awesome to see how the production evolves. Lauryn Hill is a hell of a musician. Combined with synths and modern percussion I think she could really flourish in today's age. Let's be honest, the same hi-hat, kick, and snare combination is a little redundant. Maybe it's rude but really go back and listen to the percussion of Everything is Everything, Can't Take My Eyes off You, and Doo Wop (That Thing). Sounds the same. All Classics but repetitive.

Another reason she needs to drop a sequel is the monetary benefits. I could see it now. Imagine how Lauryn Hill would do on the charts. The Miseducation was timeless. The music branched across the world through many generations. This would do crazy numbers on billboard and all the streaming platforms. If her tax situation is how it suggests an album and tour would do wonders for her career and reputation of missing shows.

Unplugged is to Lauryn Hill as Blonde is to Frank Ocean. Both of these artists follow ups to classics seemed to be a collection of good songs but far from a great albums in comparison to their latter projects. They both are hermits when it comes to their time away from limelight and to focus on their craft.

"The challenge is aligning my energy with the time. I am at my best when I am open, rested, sensitive and liberated to express myself as truthfully as possible." Lauryn Hill

If this is as true as her letter expressed the time away from the industry limelight should have been more than enough to muster up another classic. No easy feat sure, but she's the only one who's capable and the people believe in her. The Re-Education needs to happen for real. The Miseducation explores a 24 year old Lauryn and her experience with love thusfar. She's 42 now, how has love changed and grown with age for her? I think we'd all love to hear. Does it still feel good when it hurts so bad in 2018? I talked about how the original rang across the generations but is there something she'd like to tell her 20 something year old self?  The project dropped when I was 8 years old. I didn't really analyze it until I was in high school. The world is much different now. My world is too. I'm 26 and the way I look at love is different than when I was 24 let alone in 1999 you know? Imagine her contrast at 42. My friend Taye says this generation needs a project like that, and Ms. Hill is the only one who could deliver.

"There's a difference between loving someone and being in love with somebody."

I hope the kids from The Miseducation of Lauryn Hill found love.

— Nana Kwame (@NK_Adjei) March 13, 2018

It's not just her perspective we want to hear though. The skits and intro that featured the children in class talking about love. I'd love to hear them go back and grab those same kids and see how their perspectives changed. They aren't the same little girls and boys that said they weren't too young to be in love. Their grown up skits would be wonderful in the sequel (I came up with this first remember. I should patent this or A&R this thing). 

On Saturday, the Miseducation will be 20 years old. I've talked about how time and production could change the sound of this imaginary project. I wonder who she could collaborate with. D'Angelo and Mary J. Blige were wonderful on the original. I'd love to see a new version which would feature the likes of Andre 3000, Frank Ocean, Sabrina Claudio, Syd, John Legend, or even fellow Jersey songstress SZA. The ideas are endless. There's more pros than cons Ms. Hill. I don't want to sound like another angsty fan about missing out on a Afropunk set. We know how experimental her sounds are live. I think I speak for the entire world when I say we would love to hear it on wax. 

What are your thoughts? Think I'm crazy? I might be, tell us in the comment section below.

Listen: Right Here - @_MadeInMUSIC

It's been awhile since we've heard from Yoqueyri. In fact this is her first single as a solo act.

To this point she was one half of 185 (formerly known as Tymes II). Last time I remember hearing her was in TRAPDAN and Friends a couple years back. From the production to the mix, Right Here is fire. I suggest playing this in a pair of headphones.  Yoqueyri takes us on a roller coaster of love and I love the facts that she didn't play it safe vocally. I'm glad to hear her back in the fold because frankly her voice is so beautiful. You'll see that for yourself when you press play and listen to Right Here after the break. I'm not sure if this is a lead single for a project or just a loose one. When we find out, you will too! I need you to feel this.

A-Side B-Side Podcast: Episode 012 - @MostDopeMusic_ Interview

It's been a little while since we dropped an episode, thanks for still rocking with us. Episode 12 features an exclusive interview with A1's own, MostDope.

The Asbury Park native sat with Ramsey to talk about his new single and a project we can expect in the fall. They also talked about the rest of his discography to this point, the A1 sound collective, some acts from the 732 we all should check out and our opinions on our recently released Op-Ed: Rap Don't Pay the Bills. We touched a lot in under an hour so press play during your lunch break. I need you to feel this.

The Music in this Episode is True by MostDope.

Editorial: Rap Don't Pay the Bills by: @RamseySaidWHAT

A friend of mine runs a Facebook group called Hot Topics with Regine. I normally interject every so often but I stay out unless it's a lane I think I can drive in. Awhile ago a question was proposed in this chat group. It's answers to the forthcoming question intrigued and inspired this article. At what age should one stop pursuing a Rap Career?

I graduated last May with a 63 year old man. He and his son, whom was graduating as well, sat in front of me taking their senior yearbook photos. Wide eyed with the world laid out on a table in front of me I was inspired by their story. I had made up my mind that there is always time to continue pursuing your dreams. The members in this facebook group felt differently than a newly inspired Jonathan. At the same time I understand that my views may be a bit cupcakes and bubble gum for some so I decided to ask my timeline on when was an appropriate time to "Get Real."

At what age should people stop pursuing a rap career? Vote then RT.

— JC (@RamseySaidWHAT) November 27, 2017

Upon further evaluation and some serious music listening I've come to a realization. They say rap is a junior's sport but it's crazy that at 26 I relate more to a man who's 40 plus than a comtemporary or peer. An example could be about Shawn Carter's critically acclaimed 4:44. In that album he raps about generational wealth, infidelity, a system that's prejudice towards colored people, keeping money in the family and starting my own business. I can feel that more than a 23 year old singing "Push me to the edge, all of my friends are dead." Why is it that a man almost double my age speaks to me in a way a peer of mine does not? Sure the obvious reason is wisdom over age but my point is: There is a pocket for an elderstatemen to operate in rap. Why should we quit trying to make it at any particular age?

I don't know what it is about the baby boomers but they seem to blame everything on millennials and what we value (considering they pretty much ruined the world and if we are lazy it is subject to how we were raised by that generation but I digress). I just always found it weird that they coupled all millennials together. Frankly we couldn't be more apart.

I've found the kids that grew up before social media was in our lives are different than the ones who grew up on Xbox and Facebook. There's a divide and our parents sent us outside to play rather than sit on our rear end trying to catch a Kangaskhan at Safari Zone. Some of us grew up in Toyz R Us, the rest played on tablets. Not that there's anything wrong with them it's just different. That's the difference between the Lil's and Ab-Soul's. Not that there isn't room for each to operate but social cues are missed and values are different with the whippa-snappas. I'm trying not to sound like a hip-hop purist or an old head that ONLY listens to Milkbone, Cypress Hill and Scarface (because I don't, I like Future too). I wasn't always on board with this thought process. I figure some of you guys just don't have the skills or formula to succeed in this thing. That is, until I read what the first commenter on the status had to say.

"You're never too old to reach the masses?" Shayla Simone

Although I disagreed Shayla was on to something. For so long the genre has been Misunderstood and Misconstrued (the title of my senior thesis I refer back to often). It's put in a negative light that other genres don't have to combat. I'll explain that later, but here's the other side of the debate. Let's face it, music isn't completely about talent. It hasn't been for a long time. If that were the case I wouldn't have created a platform like this for those who haven't been heard yet. If music were about talent a lot of these *insert meme celebrity turned rapper here* wouldn't exist. I won't namedrop, you already have a bunch of names in your head. Another thing is promotion (I wrote a whole piece about this). If you're twenty something still making music and it's dope, does it matter if no one heard it? How long are you supposed to keep at it rather than just sticking to your day job? Being a starving artist is cool for aesthetic and all but are you really going t.o be that 35 year old dude at the open mics performing hood classics a decade old? No shade, I mean that guy can be one re-brand away from stardom. Don't believe me, ask Titty Boi aka 2 Chainz

Looking back on that facebook post it was only I and the aforementioned Shyla who said to never stop rapping. All great ideas are met with resistance and in this case: a plethora of comments of people telling me I sound like a hurt rapper who hasn't popped yet. In which I responded like so...

Moving on I thought, Why do they put an age limit on rap and no other genre of music?  I once read something Grandmaster Flash said about hip hop and how we need to change the status quo:

"In rock and jazz, they go into the archives. I consider myself an expert in most music, but I can still look at a jazz historical program and say, 'Wow, I didn't  know that.' I watched a concert with the Rolling Stones, and 70 percent of the audience was kids! Somebody must've told them that these people were incredible before they were even born, and they went to go look. We need to do that for hip hop."

The pioneer is right. I get it rap doesn't pay the bills for most of us common folk but why should we continue to limit ourselves. Hip-hop has been an outlet for people 16, 26, and maybe one day a 60 year old can flourish from. Would people put Kiss, Bruce Springsteen, or even Prince (God rest his soul) in that box? If Mick Jagger as old as he is can parade around in tighter pants than your girlfriend and monetize why should rap be confined to being a young man's game? Why should rap do that too? What do you think? Is the dream too much? Is rap too over saturated? Should soundcloud rappers just quit and keep their job at Target? Leave your input in the comment section below.